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That’s strange. Are you trying to actually send an E-mail to the location? It isn’t an email address. Just copy the link into your internet browser address bar. I just tried it, and it worked fine.
I don’t want to repeat my discussion of standard repertoire elsewhere
in this site, but Naderman is hardly interesting enough to be
necessary, nor Hasselmans. We need to play music that is of interest to
serious listeners who are not harpists. That rules out a lot of
harpist-composers. But how will we ever agree? So many are stuck on
their love of Parish-Alvars, Zabel, Hasselmans and other such figures.
If we look at pianists, for example, most of them play masters and not
lesser figures like Moszkowski. While people are more open-minded now,
it still weakens the harp to present music that is not substantial in
content just because we are fond of it. It is wonderful to have music
to learn on by harpists of yore, but we must out-grow it, as well, if
we want to be taken seriously. And we still need to be taken seriously.
We are left out of many ensembles because we are still not seen as a
core instrument with important repertoire.Concertos I should include are Albrechtsberger, Mozart, J.C. Bach,
Handel, Wagenseil, Dussek, Spohr, Saint-Saens, Debussy, Ravel, Pierne,
Dohnanyi, Jongen, Thiriet, Milhaud, Salzedo, Rodrigo, Moreno-Buendia,
Tailleferre, Thomson, Jolivet, Ginastera, Berezowsky, (Gliere only if
it is played just right), Villa-Lobos, Panufnik, to name just a handful.Solo composers (not including transcriptions):
I would listen more to flutists, myself. My point was that playing
appoggiaturas robs them of their harmonic value, and rhythmic strength.
Think of the Dussek Sonata’s third movement Rondo, and how different
its character when they are played as flippy, insignificant grace
notes, and how strong they are when they snap on the beat. Also, Miss
Lawrence felt that short notes like that should be very very short and
accented so they are clear.I was doing some searching on the internet, and I found a very nice
explanation of most of B. Andres’ effects on Isabelle Perrins website.
It even includes some videos of how to perform some of the odder ones.
It is this right here. The document is in PDF format, if you would like
to print it as a cheat sheet.http://www.isabelleperrin.com/en/perrinFRM8.htm
Hope this helps.
I love the harpists that have already been listed as well! Some more of
my favorites include Lily Laskine and Grandjany. Laskine’s phrasing,
color, and dynamic range are a source of true inspiration! A legend
indeed. Grandjany’s transcriptions and performances of Spanish guitar
pieces have so much expressive focus and force. Jana Bouskova is an
excellent choice, and her ornamentation of Baroque and Classical music
serve as a model. I also appreciate the clean and articulate playing of
Yolanda Kondonassis. Her CD’s have introduced me to a great deal of
repertoire I may not have heard otherwise! (especially music of Alan
Hovhannes). There are more harpists I love, so I may be back to list
more! 🙂I would say Judy Loman for sure. The recording of Lucile Lawrence is not the greatest quality in spite of the remaster. But she was truly an incredible musician. I would listen to it primarily for the musical phrasing which is exquisite. Elizabeth Hainen for sure. I also wouldn’t forget good old Mr. Zabaleta. He did it for decades and did it very well indeed……
Faulty or not, it remains a delightful arrangement that is very
pleasing to the audience. I have noticed that the Saint-Saens edited
editions of French baroque music print the ornaments before the beat,
but if you know the most basic rule of ornamentation, which is that
they take their rhythmic value from the main note, it is perfectly
clear that they are played on the beat. The problem is lazy musicians
who think they only have to look at what’s printed on the page and not
think about it. I am still wishing someone would study harp composers
including Dussek and Spohr and correct the notation of their ornaments.
I think they still intended them played classically, on the beat
beginning on the upper auxiliary, until after 1850 or so. I go by the
rule of what is more expressive and what function is the ornament
serving, rhythmic, melodic or decorative? My sources tend to stop
giving examples in the early 19th century or earlier, and Dussek is
difficult as he incorporates Italian, French and German as well as
Bohemian styles, I believe.I have excellent recordings by Jude Mollenhauer (viola and harp), Judy
Loman, Erica Goodman, Sara Cutler, Susan Miron, Alice Giles, Carlos
Salzedo (the very best), Lucile Lawrence, Lily Laskine and many great
lps. I have many more cds, but they tend to be disappointing. Best
recording of the Bax Elegiac Trio: Kathleen Alister with Lucien Grujon
and Walter Mony. It is awfully hard, I think, to plan and execute a
recording so it comes off as well as you want.Look for recordings by Judy Loman, Erica Goodman, Jennifer Swartz, Natalia Shameyeva, Anna Verkholantseva for classical.
hello , i had tow harp teachers both of them russian, the first was in damascus she was not qualified teacher she was young and had no experiences in teaching was horrable for me to study with her, and my second great teacher was in saint- petersburg, russia, she is a real pedagog by all the meaning of this word , she taught me how to make a high quality sound of the harp, she was like my mother she loved all of her students, she is 50 old, and
